


John's Choice - An EMP Theory

by tjlcisthenewsexy



Series: tjlcisthenewsexy's old tumblr metas [5]
Category: Doctor Who (2005), Sherlock (TV)
Genre: Analysis, Johnlock - Freeform, Meta, Sherlock Meta, TJLC | The Johnlock Conspiracy
Language: English
Status: Completed
Published: 2018-12-18
Updated: 2018-12-18
Packaged: 2019-09-22 11:41:31
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 1
Words: 8,355
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/17059130
Author URL: https://archiveofourown.org/users/tjlcisthenewsexy/pseuds/tjlcisthenewsexy





	John's Choice - An EMP Theory

 

*contains Doctor Who spoilers

Could there be major Sherlock clues planted in Doctor Who? [Hells yes](http://moffat-rocks.tumblr.com/post/75090623355/the-wholock-thickens)! I think there’s more than just scattered references and clues; I think there are entire (intentional) plot parallels. This is a bit of a long one, but it was necessary to build my case for this theory, that might yield a solution to the Watson Baby conundrum. You don’t need to have watched any Doctor Who to read this, but by the end you might want to.

First of all, I don’t discount an episode of Doctor Who  _not_  written by Steven Moffat, when Moffat is the show-runner. It’s still his plot, his subtext, and clues, and references; his show. I mention this now, because I’m about to talk loads about ‘Amy’s Choice’ in season 5 of Doctor Who, written by Simon Nye, in Moffat’s first season as show-runner.

I talk about Doctor Who for a little while first, because I want to show you how I think the characters are mirrored, with evidence to back up my theories. Other people might have their own ideas about mirroring between the two shows, but these are my ideas since I began watching it a month ago, and I’m only explaining them here because I need to before I get to the Extended Mind Palace (EMP) theory. 

Thank you to the lovely [@isitandwonder](https://tmblr.co/mFsqQSE2JWjcYbaG45JmOgw) [@monikakrasnorada](https://tmblr.co/mkXZBObSWSQ7LEWKMb6_BCA) and [@longsnowsmoon5](https://tmblr.co/m-kl_Tum3BZzaBuuAvxRHkQ) for loads of helpful advice! Thanks also to [Ariane DeVere](https://t.umblr.com/redirect?z=http%3A%2F%2Farianedevere.livejournal.com%2F&t=ZjYyOTc0NzRhOGVhYjhhNGVlNjcwMzUzYzZlZjFkMjUxNDQ0Y2I4NSxNMkFCMzVpeA%3D%3D&b=t%3AifT3Q8QrCR8YgkxriemfHQ&p=http%3A%2F%2Ftjlcisthenewsexy.tumblr.com%2Fpost%2F146800639982%2Fjohns-choice&m=1) for transcripts.

 

##  **Character Mirrors**

**The Doctor**

The Doctor is a mirror for both Sherlock AND John. For Sherlock, it’s more obvious; he’s the tall dark hero, aloof, mysterious, and brilliant. He’s the “madman”, just like John calls Sherlock the “madman” in his [blog](https://t.umblr.com/redirect?z=http%3A%2F%2Fwww.johnwatsonblog.co.uk%2Fblog%2F29january&t=ODZiMWJhZGNjOTNjMThjMjI1YzJiZDc4MWM3ZGY0ZWJlMzU2MDY4OCxNMkFCMzVpeA%3D%3D&b=t%3AifT3Q8QrCR8YgkxriemfHQ&p=http%3A%2F%2Ftjlcisthenewsexy.tumblr.com%2Fpost%2F146800639982%2Fjohns-choice&m=1) .

But JUST as often, The Doctor is  **JOHN**. After all, he’s a  _doctor_. But Steven Moffat’s first episode as show runner gives us some more clues. 

**1\. The Doctor is “people”**

_Amy:_ People always have a reason.  
Doctor: Do I look like people?  
Amy: Yes.

**2\. He’s a doctor AND a soldier.**

In 5x01, “The Eleventh Hour”, written by Steven Moffat, minutes after meeting the newly regenerated Doctor, Amelia asks him:

_“If you’re a doctor, then why does your box say police?”_

Amy’s question then triggers the Doctor’s food-tasting frenzy, a scene that is  _completely_  meaningless without Moffat’s food = sex metaphor. During this scene, we also hear lots of Moffat’s code words (evil/insane/funny are all code for gay) that flag this all as being about sexual orientation (if the food metaphor wasn’t obvious enough).

The Doctor tries out lots of symbolically male and female foods, all of which taste awful, until he eventually figures out what he needs. But the first thing the Doctor craves is an apple. Apples have been [used in  _Sherlock_](http://consultingwives.tumblr.com/post/143610876655/the-apple-meta-20) to represent sexuality between men, and this new Doctor in series five wakes up from regeneration with an  _urgent_  craving for apples. She hands him the apple, he takes a huge bite and spits the whole lot right out. 

**Apples**? Nope, something’s not right.

So he tries out some  **yogurt**  (…semen? sorry, don’t blame me). But nope.

**Bacon**? Um….pork..sausage…Penis. Nope. 

**Bread and butter**  = women (possibly a reference to a play called “Bread and butter women” by Patrick White, a gay novelist and nobel prize winner). But nope (I love that the Doctor yells “And stay out!” as another hint that this food is subtextually a person). I would love to gif the whole lot because it’s just so damn good, but I’ll get to the point…

_“ **I need** ”_ is Moffat’s code for Freud’s concept of the  **Id** , the part of our personality that is driven by our most basic needs, like hunger, and SEX (if you happen to rewatch the episode, listen to how the word “need” is emphasized). 

And what the Doctor  _needs_ is _…._ fish fingers. And custard. Fish …..vagina!. Custard…vagina! (sorry, don’t blame me). But not so fast!! That’s a PHALLIC shaped piece of fish! They could have used a can of fish. But NO, they chose a  _penis-shaped_  fish piece. Conclusion?  **The “doctor” is bisexual.**  It’s really not subtle, thank you Steven, you disgusting brilliant man.

  


Umm…yes. Sorry. So the fact that all this was triggered by the question:

_**“If you’re a doctor, why does your box say police?”** _

Tells me that in this case, “police” means “soldier”, and Amy is really asking him:

_**What are you really? A doctor, or a soldier?** _

Because in Sherlock, these [same](http://tjlcisthenewsexy.tumblr.com/post/142995546910/adding-to-this-conversation-thought-i-would-throw) words have been used in the show to represent John’s attraction to both women (doctor) and men (soldier), because as an “Army Doctor”, John is bisexual. Amy’s question prompts the Doctor to go right ahead and discover his orientation, using food as a metaphor. I think that this scene is about the Doctor AND John at the same time. 

So the Doctor mirrors Sherlock AND John, depending on context. This layering of character mirrors happens in  _Sherlock_  as well, and it makes it  ~~impossible~~  lots of fun to try and untangle all the clues.

 

**Amelia Pond (Amy)**

Amy is mostly  **John**  (this doesn’t include ways in which she might mirror other DW characters, which I’m not well versed enough yet to know). So when Amy is John, the Doctor is Sherlock. I’m going to be talking a whole lot more about Amy as John a bit further down, so the only other clue I have to add here, is all the RED. The red of Amy’s hair, and the fact that she wears red clothes a whole lot. [Red is John’s colour](http://tjlcisthenewsexy.tumblr.com/post/144943918140/colours-in-sherlock). 

  
  


 

**Rory Williams**

So because Amy is John, Rory represents both John’s love interests; Mary and Sherlock. Half of his name is there to mirror Sherlock, half mirrors Mary:

  * ‘Rory’ looks and sounds like ‘Mary’ (they’re also both nurses)
  * ‘Williams’ is like Sherlock’s first name (William Sherlock Scott Holmes)



 

**River Song**

River is Mary, Sherlock, AND John, or layers of each, depending on context. It sounds confusing, but it’s more like a mirroring of plots and story arcs than just characters, which is why the mirrors are so interchangeable. So for example….

River is John  _and_  Mary when the Doctor is Sherlock, because River is both  **the person he loves** , and  **the person who will kill him**. Again, even River’s name tells us she’s two things at once:

**Music**  both in  _Sherlock_  and [DW](http://moffat-rocks.tumblr.com/post/51338712615/speaking-moffat-lesson-2-the-song) relates to  **love**.

**Water**  in  _[Sherlock](http://thepineapplering.tumblr.com/post/134332174530/still-water-runs-deep-1-slippery-floors)_ , and possibly also in DW, is connected to  **villains**. 

River = Water  
Song = Music

Therefore… **River/Song**  is an enemy and a lover. And River tells us this herself:

And clearly this is about the DW plot, but the entire plot in question also mirrors  _Sherlock_ _._ So when the Doctor is Sherlock, Mary is the woman who murders him, and John is the (wo)man who marries him. 

 

##  **‘Amy’s Choice’**

The episode begins with Amy and Rory living an idealic peaceful life in a country cottage, Amy heavily pregnant and about to burst, humming to herself while baking cupcakes…it’s domestic bliss come true. The Doctor, who hasn’t seen them for ages, parks his Tardis in the flower bed and comes for a visit. They’re all overjoyed to see each other so they take a little walk through the village and sit on a bench and chat. It’s very peaceful, but very dull. There’s no one in sight. Suddenly they all start to feel a bit woozy, they hear the chirping of birds and all three of them collapse in a heap, only to wake up safely back in the Tardis, where it was apparently all a dream, and where Amy is no longer pregnant and everything seems normal again. They realize they all had identical dreams, and within moments they’re hearing the same bird chirping noise they did last time, and they all pass out again, only to wake back up again in the country village. This back and forth continues while they try and figure out what the hell is going on. Each time they wake up they’re convinced that THIS is the real world, and the OTHER one is the dream, but they say that about both worlds; the Tardis and the village. 

The explanation for what is happening comes when the Dream Lord appears, and presents to them their challenge. This whole thing is apparently the Dream Lord’s twisted little game, and their lives are in danger because they need to decide which is the dream and which is reality. 

_You’re going to face in both worlds a deadly danger, but only one of the dangers is real. The prognosis is this: if you die in the dream, you wake up in reality. If you die in reality… you die._

The danger in the village world is a retirement home populated with murderous aliens who have occupied the bodies of the old people. The danger in the Tardis world is that the Tardis has lost all power, and they’re floating helplessly towards a cold star and slowly freezing to death.

Amy is given the burden of choosing, and needs to decide which reality is real and which is fake in order to save all their lives, but she has no way of knowing. 

So clearly, this is about Amy needing to make a choice between her two men. The country village is Rory’s dream for himself and Amy, and the Tardis is where the Doctor will always be. And because both worlds seem real, the only way she can save them all is to follow her heart and choose which man, which life, she truly desires. What does Amy want? A baby and a domesticity with Rory, or an exciting life with the Doctor? She can’t lie, she can’t pretend, because that could kill them all. Amy needs to choose, but she keeps on stalling, because she doesn’t  _want_  to have to choose, and it’s clear that she’s not quite sure yet where her heart lies.

But before Amy is forced to make a choice, they’re in the village dream fighting the elderly-aliens when Rory is accidentally killed. Through her grief over Rory’s death, Amy now realizes how much she loves him, and that in fact, she doesn’t want to continue living without him. She declares that the Tardis is the reality, because if the village is the reality, and Rory is dead in the village reality, she doesn’t want it anyway. She’s going to take the risk that the village IS reality, which would then mean her death. So the Doctor and Amy go ahead and kill themselves, and when they wake up in the Tardis alive and well, all three of them have apparently escaped death, and won the game.

At this point in the episode, the audience is left to wonder that if this was the true reality all along, that must mean that Amy’s heart lies with the Doctor. But Amy didn’t  _choose_  the Tardis, she  _chose love_. She decided she was willing to die with Rory, and in doing so,  _chose Rory_. But now, here they ALL are, alive and well in the Tardis. So it seems that Amy gets to keep her two boys after all, and keep her adventurous lifestyle for now, and as a bonus, she knows now that Rory is the one she loves. The Dream Lord shows back up, congratulates them on winning his little game, turns the Tardis’s power back on, and leaves. 

The Doctor, however, realises that something’s not quite right. In this reality, they were floating towards a…cold star? There’s no such thing! The Doctor figures out that BOTH realities were dreams and they’re STILL in the Dream Lord’s game. So how do they escape this dream as well? Well, they need to kill themselves again. So they blow up the Tardis, die, and wake back up in proper actual Tardis reality, defeating the Dream Lord once and for all. 

So…what’s this got to do with  _Sherlock_? A  **lot!**  Let’s start with the obvious parallels. Character mirrors (with some exceptions) are generally:

  * Amy is John 
  * The Doctor is Sherlock
  * Rory is Mary



If you’re worried that these mirrors will tell us that John chooses Mary, don’t worry your pretty little faces. The mirroring only goes so far, as I’ll show you. The fact that Amy loves Rory is all about the plot of Doctor Who. Amy and Rory have their own epic love story that’s being played out, and the Doctor loves someone else as well. 

So back to the beginning, just like Amy must choose between domesticity or adventure, John has a choice to make as well. For Amy in the Dream Lord’s game, the wrong choice means death, and what saves her in the end is simply the fact that she followed her heart and chose love, AND was willing to  _sacrifice herself_ , the ultimate expression of true love. 

John also needs to follow his heart, because the wrong choice could kill him. But just like Amy had no way of truly knowing which reality was her destiny until she had potentially made the  _wrong_  choice, and just as Amy was truly conflicted about what life she should be living, we see this also in John’s story after Sherlock comes back from the dead. John feels a strong pull to a heteronormative life with Mary, the life he feels he should be living. And as a bisexual man who is still mostly closeted, and not being sure that Sherlock is even capable of a relationship or whether Sherlock even loves him back, John stays engaged to Mary even after Sherlock returns. 

In TEH we see John try to make this domestic reality work; he has emotional security with Mary while still having adventures with Sherlock on the side. He wants to try to have both, but he never will, because it all ends when the truth comes out in HLV. Just like Amy, John has a choice to make. One choice is love, and the other choice might kill him. And the only way he could have “won” was by following his heart and risking everything for love. The subtext tells us that Mary could have been  _anyone else_ , and she  _still_ would have been the  _wrong choice_.

_**Why is she like that?  
Because you chose her.** _

Now let’s look at some interesting little parallels between  _His Last Vow_ ,  _The Abominable Bride_ , and the two ‘realities’ in ‘Amy’s Choice’.

**The country cottage…**

  


  
**The elderly…**

  


**Then there’s the giant baby bellies…**

  


**Then there’s mass faintings…**

  
  
  


**And even the suggestion of poking something (to see if it’s real?)…**

  


**And a red bow tie…**

  


**There’s a spot of time travel…**

**Not being pregnant in an alternative reality…**

  


**And the act of suicide in order to wake up from a dream…  
**

_Watson: **So how do you plan to wake up?**  
Holmes: **Oh, I should think like this.**_

  


  
  


##  **An Extended Mind Palace Theory**

Thank you for reading this far! Now we’re getting to the good bit. The parallel goes further than just those visual similarities. I think they’ve mirrored almost exactly the plot of ‘Amy’s Choice’. Let me just be clear up front: YES, I think Moffat writes entire episodes and plot lines into DW that mirror Sherlock plots. I also would accept the possibility (even though I do not think it’s the case) that Moffat mirrors plots by accident, by simply reusing ideas. Either way, it works well for me! I have more DW theories just like this one here, so this is not the only time we see a parallel between the two shows. 

This is what ‘Amy’s Choice’ tells me about the Sherlock series 3 cliffhanger: I think there are  _two_  dreams in Sherlock, modern and Victorian, Mary is pregnant in one, and not pregnant in the other,  _and I think the first dream started in HLV_. 

Because maybe TAB taught us how to analyze a dream, and the fake modern scenes in TAB taught us how to spot one, so that we can go backwards into HLV and look for more (which we did).

If you have reservations right now about the erasing of character development, just hold on. Because I think there are more layers than just “real” and “fake”, which we know now from analyzing TAB. We didn’t write TAB off as just a “fake” reality, we analyzed the crap out of what can be gleaned from Sherlock’s dream-version of events. So the same should apply for any dream that is discovered to have begun in HLV. I think any EMP just means we have to start from scratch with our HLV analysis.

In ‘Amy’s Choice’, the Doctor tells us how to spot that something is a dream instead of reality:

##  _Look around you, examine everything. Look for all the details that don’t ring true._

##  _I’m sure there’s a dream giveaway, a tell._

Details that don’t ring true, dream giveaways, tells. We have these in abundance in HLV ([here](http://isitandwonder.tumblr.com/post/145316499731/imagine-the-christmas-dinners-extended-mind) and [here](http://isitandwonder.tumblr.com/post/145408413541/emp-in-hlv-appledore)). And they even planted an easy “tell” in Amy’s Choice without ever mentioning it. And what’s the tell?  _[A tie](http://isitandwonder.tumblr.com/post/145624524786/sherlocks-dimples-isitandwonder)_. I shit you not. The Doctor’s bow tie is blue in the Village reality and red in the Tardis reality, even though you probably wouldn’t pick it up the first time, if ever. But for this meta, instead of focussing on the “tells” in HLV, I’m going to stick to just the parallel with DW. 

In Doctor Who, there’s the  **Village ‘reality’** and the  **Tardis ‘reality’** , and the Doctor has this to say about the two:

_“Which is which, are we flashing forwards or backwards?”_

There’s no more mention of ‘forwards or backwards’ in the episode, and although obviously it’s a time travel thing, it doesn’t end up being relevant to the episode’s plot. 

So I’m going to pluck it out of Doctor Who and call it a Sherlock clue, and here’s why. In Sherlock, we have one “reality” that is quite obviously the  **past** (Victorian london, 1895),and one “reality” that is textually in the  **future** , because we flash  _forwards_  to see it (Christmas at the Holmes’s). After Sherlock passes out when the ambulance arrives at Baker St, following the “Watson domestic”, we jump forward several months, and stay there for the remainder of the episode.  

##  _Which is which, are we flashing forwards or backwards?_

I’m about to try and prove to you with the ‘Amy’s Choice’ parallel, that ALL of the  _flash forward_  part of HLV is a DREAM: Christmas at the cottage, Sherlock’s meeting with CAM in the restaurant, Appledore, Tarmac. All of this happens in Sherlock’s mind after he falls unconscious at Baker St after the Watson Domestic and remains unconscious, presumably in hospital. 

I had not considered for a moment that EMP was real. I didn’t go searching for clues to support it, I was ignoring it, then the clues jumped out at  _me_ , and so I obeyed the meta gods and wrote it all down. Because what the ‘Amy’s Choice’ parallel tells me, is that from Watson Domestic onwards, Sherlock hasn’t regained consciousness, and is trapped between  **two dreams** :

**Dream 1 - Country cottage  
** Flash Forwards: This includes Christmas at Holmes’s, Restaurant, Appledore, and Tarmac scenes.  _Mary is heavily pregnant._

**Dream 2 - Victorian London**  
Flash Backwards: Just the Victorian scenes.  _Mary is not pregnant._

Just like Amy’s dreams represented her choosing either Rory or the Doctor, each of Sherlock’s dreams represent  _John’s choices._ Dream 1 is where Sherlock imagines a world where John chose Mary. In Dream 2, Sherlock imagines John choosing  _him_. And Watson Domestic is the perfect segue into the two dreams that follow,  _because the scene is all about John’s choice._ Sherlock tells John that he chose Mary, but the [cinematography tells us the opposite](http://cinnkegan.tumblr.com/post/141517891113/john-chose-sherlock-not-mary). And Sherlock’s  _last line_  of dialogue before he passes out for good?

_Er, mixed messages, I grant you_.

Mixed messages indeed. This is the thought Sherlock takes with him into dreamy land, and he has all of his subconscious at work for him while he’s stuck in hospital. 

So let’s take a closer look at each Dream, and how they represent John’s choice. It’s Dream 1, Christmas at the Holmes’s, and John and Mary are expecting a baby any day. John forgives Mary. They’re at a quaint country cottage, just like the beginning of the Doctor Who episode.  

MARY: So you realise that, er, Sherlock got us out here to see his mum and dad for a reason?  
JOHN  _(smiling)_ : His lovely mum and dad. A fine example of married life. I get that.

Sherlock got them out there, or rather, he  _put_  them out there in his mind, because this is where Sherlock imagines a John who has chosen Mary, chosen an ordinary heteronormative existence. Sherlock imagines John choosing Mary here at his mum and dad’s house, Sherlock’s mental image of what an ideal domestic reality is. Now, I’ve always maintained that the hidden threat in John’s forgiveness speech to Mary proved that he was faking the reconciliation. Calling this scene a dream doesn’t erase the significance of that clue. It tells us that even while Sherlock is imagining John choosing this life with Mary, he’s on some level aware that John doesn’t really want it. Sherlock knows John, and he knows that John would  _never_  forgive Mary. This is why when he imagines John and Mary happy together, the best Sherlock’s imagination can manage is a forgiveness speech that sounds authentic, but is laced with promise of revenge (“ _the problems of your future are my privilege”_ ). This is why calling half of HLV a dream doesn’t erase events, it just shifts our perspective into Sherlock’s mind. 

When the helicopter picks them up at the cottage and takes them to Appledore, it gives us a nice link to tell us that all of Appledore is dream as well. If there had just been a transition from one scene to the next, it would have been unclear. But the black helicopter links the two scenes together. So Appledore is still Dream 1 _._  We’re still in a world where Sherlock’s mind believes that John has chosen Mary. Which is why Magnussen tells us that Mary is John’s pressure point, even though  _we know_  that Sherlock is the one person in the world that John would do anything for. Sherlock IS John’s pressure point, but not here in Sherlock’s mind, in the world where John chose Mary. 

In a world where  _John had chosen a life with Mary_ , what would Sherlock then do if either one of them were threatened? 

_Give my love to Mary, tell her she’s safe now._

He would sacrifice himself for John’s happiness. He DID ‘kill’ Magnussen for Mary, because John had made his choice, and he’d chosen Mary. If you want to talk [Occam’s razor](https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FOccam%2527s_razor&t=ODMzZTIzMDI1NzU4OWZiMmY1ZmNkNGZjY2M4NjJlYmMwMzYyMDg0NyxNMkFCMzVpeA%3D%3D&b=t%3AifT3Q8QrCR8YgkxriemfHQ&p=http%3A%2F%2Ftjlcisthenewsexy.tumblr.com%2Fpost%2F146800639982%2Fjohns-choice&m=1), which I always do, then this explanation is simpler and therefore better. Saying that Sherlock killed Magnussen to ensure that Mary believed he was protecting her, when he was really just protecting John and his potential unborn baby, is a much more complicated explanation than this one:  **Sherlock gave his life for John to be happy with the person he chose**. It’s a simple explanation, with an even simpler reason behind it;  **it’s a dream**. 

Which brings us to the tarmac, still in Dream 1 where Mary is John’s choice. Sherlock is going to his supposed death, and gets one more conversation with John Watson. He wants to tell him he loves him, but what would Sherlock do in a world where John had made his choice, and his choice was Mary? _He wouldn’t tell him, because not telling him is the right thing to do._ The best he could hope, is that they’d name their daughter after him. 

Sherlock gets on the plane, birds start tweeting, he passes out, and wakes up in Dream 2. And if  _John chose Mary_  in Dream 1, then Victorian London is the dream where  _ **John chooses Sherlock**_. And we see this immediately, because Mary isn’t pregnant. Holmes and Watson return from a romantic trip to the countryside together to find Mary upset over being abandoned…

_“You have recently married a man of a seemingly kindly disposition who has now abandoned you for an unsavoury companion of dubious morals.”_

We see John eat breakfast alone, Mary nowhere to be found. Mary is still a presence in their lives, but her and John’s marriage is dead, their home together is dusty and abandoned.

And if this is the dream where John chose Sherlock as his companion instead of Mary, then that might explain this otherwise completely inexplicable line:

**HOLMES: What an _excellent_  choice of wife.**

(Hint: he’s talking about himself!). This is not even crack. The word “choice” that’s thrown in there is significant, and tells me that this is a reference to Sherlock being  **John’s choice**  in this Victorian dream.

Finally, birds start tweeting (not really) and Sherlock wakes back up in Dream 1, back on the jet. And this one feels as real as the other one did. Each time we switch between the dreams, there’s fainting involved, just like in Amy’s Choice.

Back in Dream 1, John’s behaviour at the graveyard shows us how out of character a John who has chosen Mary would truly be. Whoever this is, it isn’t the John we know, because John  _would_  help Sherlock in whatever crazy scheme Sherlock thought up. 

Back in Dream 2 again, and John, having chosen Sherlock, shows up at the Reichenbach falls to save him. Moftiss are already in the process of “fixing” ACD canon for the modern day, so this is their fix-it for 1895. By the time the series is done, John will have left Mary for Sherlock in 1895 AND the modern day _._  Yes, I’m calling it…I think Sherlock just went back in time to change the course of the future (it’s [“the power to change 1895″](http://just-sort-of-happened.tumblr.com/post/117036967560/just-sort-of-happened-blueplanetocean)).

As I continued to follow the ‘Amy’s Choice’ plot to look for parallels, I kept on finding a parallel every step of the way.

_**If you die in the dream, you wake up in reality.** _

Amy loses Rory in the village that time forgot. She decides that she’d rather die than never get to spend her life with Rory. So she kills herself, not knowing whether this was the dream or the reality, not knowing whether she’d ever wake up or not. When they do all wake up in the Tardis safe and sound, and find out that they’re all  _still_  dreaming, they blow up the Tardis to kill themselves a  _second_  time, and they  _finally_  wake up in actual reality. 

In Dream 1 where John chooses Mary, just like Amy, Sherlock had lost the person he loved. Just like Amy, Sherlock decided that he would rather die than live without John. And just like Amy, Sherlock killed himself in Dream 1. 

  
  


Sorry in advance but…

HE  **DID**  TAKE IT ALL. IT  **DID**  KILL HIM. HE TOOK A DRUG OVERDOSE AND HE  **DIED**.

I mean, it’s all completely symbolic because **DREAMS**, so I’m not going to nitpick the mechanisms of the drug overdose and the timing (much), but symbolically, we ARE shown the precise moment of Sherlock’s Dream 1 death. He might have  _taken_  the drugs as soon as he got on the plane, but the graveyard scene,  **the very lastDream 1 scene** , is where we see the actual moment of his Dream 1 death:

…and it’s quite fitting, seeing as he’s standing in a grave and all. In fact, he’s in the grave of Emilia Ricoletti, who is, in part, his own mirror. Thank you Moftiss, for the charming metaphor of Sherlock  _digging his own grave_  by obsessing over Moriarty and letting it destroy what he had with John, after which Mary was there to take John home for good.  

Following his Dream 1 death, he wakes up again in Dream 2 where he figures out that he’s still dreaming…

And just like the Doctor blew up the Tardis so they could wake up once and for all, Sherlock knew that the only way to wake up from this Victorian dream was to die, again.

_Watson: So how do you plan to wake up?  
Holmes: Ohhh, I should think like this._

So in the  **final plane scene** , it isn’t Dream 1, because Sherlock took a drug overdose and  _died_  to escape Dream 1 for good. This isn’t Dream 2 either, because Sherlock jumped off a cliff and  _died_  to escape Dream 2 for good.

So according to Amy’s Choice, once Sherlock had died in  _both_  dreams, he should then have woken up in reality. Which would mean that the final plane scene is real. But if he’s been unconscious in hospital and dreaming, ever since moments after Watson Domestic, then when both dreams are over,  _why are we on a jet? Instead of in hospital?_

## WELL…

…as it happens, there’s  _another_  Doctor Who episode that fills in the missing pieces (Hi! Are you still with me??). ‘Last Christmas’ was the 2014 Christmas special, written by Steven Moffat, which uses a very similar mass-dream idea, but this time there are  _more than two dreams_  (there are four or five!). I think ‘Last Christmas’ gives us the remainder of the clues we need to figure out the EMP thing (either that or I’m very fanciful). So here are our answers, folks…

 

##  **‘Last Christmas’**

In ‘Last Christmas’, there are not just two dreams, but dreams nested within dreams, and whereas last time some “psychic pollen” was the cause of it all, this time it was a “Dream Crab” (basically the face hugging creature from  _Alien)_  that latches onto your face, puts you to sleep, and makes you dream; which the Doctor calls “merciful”, because the Dream Crab is anaesthetizing you and letting you have an enjoyable dream while it digests your brain and kills you. Each time they think they’ve escaped one dream, the Dream Crab is one step ahead, and has simply made them  _dream that they escaped_ , and the twist is,  _they’re still dreaming!_

As it’s a Christmas special, the role of the Dream Lord from ‘Amy’s Choice’ is filled by…Santa Claus!! Who, just like the Dream Lord, is a projection of their own minds. But while the Dream Lord was a projection of the Doctor’s darkest thoughts, Santa on the other hand, represents hope. He is manifested by the tiniest shreds of will-to-live left in each of them, that the Dream Crab has not yet fully consumed from their minds. And because it’s Christmas, a time for magic and touchy-feelies, all of them subconsciously projected their will-to-live onto the thing that gave them hope as children, a hero who can do magical things and therefore can surely rescue people who call for help on Christmas eve. And Santa does save them in the end, but to help them help themselves, he needs to first  _convince them_  that they’re in a dream. The crew are  _more willing_  to believe in the actual existence of a present-delivering Santa, than they are to accept the less pleasant alternative; they’re  _asleep_ , with one of those horrible creatures on their face. 

Santa Claus is a stand-in for the ridiculous, the absurd, the  **impossible**. Santa is everything that should be a huge red flag that  _this isn’t really happening_. Tons of the episode is dedicated to  _really_  hammering home this message:

## “This is  **ridiculous**! This must be a dream!“

It’s the elimination of the impossible, after which only the improbable remains. Santa Claus DOESN’T exist. And all the preposterous details that come with Santa Claus’s profession are made fun of, like his ability to pull off half a billion house-breaks in one night all while wearing jingle-bells.  **Santa is impossible** , therefore  **the improbable must be true** : they  _must_  be dreaming. 

  


What does this tell us about HLV? It tells us that Moffat is equating the idea of the latter part of HLV being real, to the existence of Santa Claus. He’s telling us that we should have been paying attention, that what we were watching in the flash forward part of the episode, was  _impossible_. The things that happened - John going back to Mary, Sherlock shooting a man in the face at point blank range, they are impossible, therefore the improbable  _must_  be true. It’s a  _dream_. 

Santa makes fun of our dedication to believing anything we are shown without question it, even if like Santa, _it makes no sense_. Once I had watched it a few times, I realized JUST HOW MUCH of the dialogue is present just for this purpose. It starts to feel repetitive. The crew are VERY unwilling to believe that they are dreaming, because they don’t want to consider the alternative. Meanwhile, Santa spends a lot of time demonstrating how ridiculous he is…

…while the crew members pick apart the scientific plausibility of his story, trying to understand how it could be true, because they can only believe the truth of what their eyes are telling them, because it’s easier than admitting to the alternative; they’re lying in a bed somewhere else in the world with a Dream Crab on their face; they’re dreaming, they’re dying. 

I feel like if Santa showed up in the flash forward part of HLV, he’d be having a laugh about all the things that don’t line up…

_What’s wrong with you people?! It’s so green! You call this Christmas? It looks more like Easter! Why is John playing happy families with the person who shot his true love?? This is a dream, you idiots!_

Importantly, the Doctor asks how you can be sure something is a dream, when reality is also ridiculous?? When your buddy is a time travelling alien with a police box that’s bigger on the inside? When it’s fiction within fiction, how can you tell?

By questioning everything, examining everything:

Doctor:  **Trust nothing. Accept nothing you see. Whatever happens, interrogate everything.**  
Clara:  **In case it’s a lie?**  
Doctor:  **In case it’s a lie.**

I want to throw in another clue from this episode, and it’s a good one. The Doctor remembers the “Helman-Ziegler dream test”, the only reliable dream test he knows. The shared dreamscape is based on all their memories, so because none of them have actually read the arctic base manual, the pages of the book don’t exist in their memories, and will differ for each one of them. Clara picks a page number (57!), and they each read the first word on the page, and of course each person’s is different, which tells them they’re dreaming. 

I think Moffat snuck a Helman-Ziegler dream test into  _His Last Vow_. The Holmes Christmas scene DOES feature a book! It’s Mummy Holmes’s  _The Dynamics of Combustion_ , supposedly a book about mathematics.Mary sits reading it, and as Mummy comes in with Mary’s tea, we DO get one good shot of what she’s reading.

  


“THE THYROID GLAND”

I’m really really quite positive that a book on advanced mathematics would NOT have a chapter about the Thyroid Gland. Maybe someone can correct me on that if I’m wrong. Because otherwise, I’m calling it: It’s the Helman-Ziegler dream test. Sherlock, dreaming this entire scenario in his head, has not read his Mummy’s book, and therefore his mind can’t fill in the pages, so it uses  _some other random book_  he’s read to fill in the blanks. The dialogue might even allude to Sherlock not having read it, or not having been allowed to touch it or read it as a child:

_Mummy: Oh, that silly old thing. **You mustn’t read that**. Mathematics must seem terribly fatuous now!_

And if you’re sceptical, I’ve gif’d the shot, including the last few frames of the previous shot, to show you that Mary is  _pausing_  on this page as the shot begins, then she flips through the book. 

So by having Amanda start on that page for the scene, they’ve ensured that the viewer gets this  ~~absurdly~~  tiny clue. Like honestly Mr. Moffat…

So there are FIVE levels of reality in Last Christmas, including four dreams and actual reality. Once we know how the Dream Crabs function, it’s then revealed that it was all just  _one_  dream. But I want to show you how the “realities/dreams” are structured, because it’s interesting:

**1\. Reality**  
2\. Elderly-Clara  
3\. Clara’s Rooftop/North Pole 1  
4\. North Pole 2  
5\. Clara and Danny at Xmas

These are the five “layers” of reality in the episode. But here’s the sneaky thing: the episode starts at 3. We move forward through two more levels of dream as the episode progresses, then we start moving BACK. So it is eventually revealed that at the beginning of the episode,  _Clara was already dreaming,_  a fact which, at the time, the audience was not aware of. So there’s kind of a tiny parallel there with HLV and TAB, and by tiny I mean huge. Because TAB begins, and  _obviously_  it’s a dream, but little did we know that Sherlock had  _already been dreaming_. 

Additionally, Sherlock, having “died” in the first two dreams, as the ‘Amy’s Choice’ parallel shows us, is now just  _imagining_  that he has woken up from both during the final plane scene, while he’s actually still asleep,  **as the ‘Last Christmas’ parallel shows us.**  This is why I’m saying that the answers to the EMP mystery can be found in a combination of clues from these two Doctor Who dream episodes.  

Pretty simple, huh? The parallel with ‘Amy’s Choice’ tells us that Sherlock needed to  **die**  to escape the dreams, it showed us what Sherlock’s life would look like if John  **chose Mary** , or if John  **chose him**. Then ‘Last Christmas’ showed us that there are  ** _more_  than two dreams**, and in the final plane scene in TAB, we are now in a  **THIRD DREAM.**

## SO…

We might expect to see something different in Dream 3, right?? Yes! Remember, Mary was pregnant in Dream 1, but NOT pregnant in Dream 2. Sherlock went deep to find out if John would choose him or Mary, and Mary’s giant belly in Dream 1 simply represented what the future would look like if John chose her. But what Sherlock DID take away from his two-dreamscapade was that John DID choose him. The proof of that is in the manner of Sherlock’s ‘death’ in each dream; in one he was consumed by a monstrous corpse at the bottom of a grave, in the other he  _chose_  to jump, or rather to  _fly_ , which he looks pretty darned happy about, and then he lands in John’s arms. One is terrifying, the other is intensely romantic. 

(I have a point, and I’m getting to it, thanks for sticking with me)

So if the final plane scene is Dream 3, and now Sherlock  _knows_ that John chose HIM, then perhaps Dream 3 features a Mary who is no longer visibly pregnant. It would make perfect sense given this new narrative provided to us by the Dream theory. But…we saw that she was pregnant, right? In the last plane scene she still had her big baby belly. Or did she??????!

Of course at this point when I was figuring this all out, I quickly cued up TAB to check for Mary’s baby belly in the final plane scene, but never in a freaking million years did I  _actually_  expect be rewarded with such a glorious clue. Something that you would NOT notice unless you were specifically looking for exactly that, which told me that I could be onto something. The final plane scene is quite short, so lets take a look at every shot of Mary, and look at her belly.

**Final TAB Plane Scene, every shot of Mary.**

Sherlock wakes up…

1st shot of Mary…  view of belly obstructed.

2nd shot of Mary… view of belly obstructed.

3rd shot of Mary… only her back.

4th shot of Mary… belly not visible.

5th, and LAST shot of Mary… 

Just her head and shoulders. That’s it. That’s all there is. We can’t see her belly.

**Do you see?**

## Do you see what they did there?!

It’s hardly a coincidence that none of these shots show her belly, because go and look at the other plane scene, the graveyard, the brief hospital scene. All of them show her belly. The final head and shoulders shot of Mary even seemed a little jarring to me when I first saw it, as if a slightly wider shot would have made more sense here. Maybe you don’t see it like I do, but I feel like the fact that the cinematography in this ONE scene intentionally hides the front of her torso from view, is a  _massive_ nugget of evidence that we’re still dreaming, and we’re in Dream 3!

What do you think? Feedback please! I’m screaming! 

So it’s possible to conclude from all this that:

  * This is now our last accurate depiction of how John actually feels about Mary…



So the final plane scene being Dream 3, a new dream in which Mary is not visibly pregnant, is telling us that either…

  * Mary is not actually pregnant.
  * Or, very little real time has passed since Watson Domestic, and therefore Mary is still only as pregnant as she was at Watson Domestic (ie. not visibly).
  * Or, Mary’s non-pregnant state in the final plane scene/Dream 3 reflects Sherlock having deduced something in the first two dreams that tells him the baby is irrelevant in some way (eg. not John’s), and this is being reflected in the way Sherlock is dreaming up Mary’s image in Dream 3.



So I predict that S4 will begin with either Sherlock waking up in hospital (boring?), or we’re straight back into dreamy land with Sherlock, until he somehow eventually makes it back to reality.

Because if the setlock baby scenes were a Dream, then we’ve got more Dream scenes to come in Ep1, and maybe there IS no baby, and there never was, and that this is how the baby “problem” is going to be resolved. To me, this seems most likely. Anyhoo, I’ve got my fingers crossed now that this is the direction they are going. Maybe anyone who hated the idea of EMP will be won over by the fact that it could potentially fix the baby conundrum. But I also really really hope that there’s not much more Dream because I’m really looking forward to Sherlock and John actually interacting in real life, and you know, looking…at each other, and stuff. 

 

##  **Morphine or Cocaine**

Something that’s not obvious until you consider the two-dream theory is that Sherlock uses  **morphine**  in Dream 1 and  **cocaine**  in Dream 2.

It’s significant then, that Watson asks him “Morphine or cocaine?” just as we’re transitioning between dreams. These two drugs are very very different, and I believe that there’s a subtext to Sherlock’s use of each of them in each of the dreams. Cocaine is an “upper”, and has a similar effect in the brain to feelings of love, and Sherlock uses it in Dream 2 where John chose  _him_. But morphine is a “downer”, “it’s the sort of thing people get drawn to when they don’t want to face life” (LSiT [x](http://tjlcisthenewsexy.tumblr.com/post/145788114550/maybe-you-can-clear-this-up-for-me-in-hlv-when)) , the sort of thing that Dream 1 Sherlock would need.

In fact, if Sherlock’s dream state in Dream 1 is linked to his use of morphine, then this could be an additional clue to what in HLV is dream and what is reality. And Janine confirms this for us, with some sneaky word play…

_**Dream come true for you, this place.**  They actually attach the drugs to you._

Hospital; it’s a dream come true! Literally. Sherlock is frustrated that his requirement for morphine due to pain will not be good for working, and Janine reminds him that…

_You won’t be working for a while, Sherl._

And he didn’t, because within hours of his escape out the window, he was right back in hospital and stayed there. But Sherlock  **did**  find a way to work anyway, despite being unconscious from the Watson Domestic onwards, probably on morphine (morphine is given for pain even while in a coma, thanks doc [@pure-johnlock-gold](https://tmblr.co/mzvQQsCVmA647zHMKclIl7Q)). So the dream worlds weren’t his mind palace, which is nothing but a memory technique, and is used when he is  _awake_. But the dream worlds  _were_  his subconscious, where he used anything and everything already inside his mind to work out what he needed to work out in light of this new danger (ie.  _that wife)_. 

When he collapses at the end of the Watson Domestic, he is desperate for morphine, and hopes the paramedics brought it with them. We know he’s NOT on morphine already, because it’s implied in his reaction to Mrs Hudson (his anger also demonstrates that he’s already dependent, and clearly in withdrawal). Sherlock mentions it again when the paramedics arrive  _“Did you bring any morphine? I asked on the phone”._  So this tells us that Watson Domestic was not a Dream, because he wasn’t on Morphine at the time. Presumably, the paramedics gave him a large dose, after which he has not yet regained consciousness.

The morphine/cocaine distinction also gives us a clue to the cause of Sherlock’s Dream 1 death. This is from LSiT:

> “There’s a few more interesting things to know about drugs as regards the special, namely that John notes that the combination of things Sherlock took could have killed him.
> 
> For example, what happens when you take uppers with downers? Well, potentially death, for one. Some people tragically get the idea that they’ll cancel each other out in some way, but in reality, you’re just fucking up multiple bodily systems at once and hoping they’ll still function in their new chemical equilibrium while the drugs themselves peak at different rates. Unsurprisingly, it often goes poorly. A [speedball](http://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FSpeedball_%28drug%29&t=ZjIwNjdlYjI4OWFkZjM0MWYzNzViOTQ3Yjc1ZjVkMzI3MTQ2MWU3NSw4dVVvdTMxVw%3D%3D), for example, is a mix of heroin and cocaine, and if you go to the link you’ll see that combo has killed a lot of people you’ve probably heard of.” ([X](http://tjlcisthenewsexy.tumblr.com/post/145788114550/maybe-you-can-clear-this-up-for-me-in-hlv-when))

[Note: heroin and morphine are almost the same thing]. 

So Sherlock, already dosed up on Morphine in Dream 1, then ( **symbolically, of course, because it’s a dream within a fictional universe with an already symbolic narrative** ) took a large dose of cocaine, and effectively took a [speedball](https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FSpeedball_%28drug%29&t=MDJiNWI1NzUxY2YyNmE1YzI1YmE2MmZhOTRmYmMwMzJhNWRiYjk2NyxNMkFCMzVpeA%3D%3D&b=t%3AifT3Q8QrCR8YgkxriemfHQ&p=http%3A%2F%2Ftjlcisthenewsexy.tumblr.com%2Fpost%2F146800639982%2Fjohns-choice&m=1). We assume there was a long list of drugs on “the list”, but there might have just been two things on there; a potential lethal dose of both an upper and a downer; morphine and cocaine. This also from the wiki on speedballs;

> Due to the countering effect of the cocaine, a fatally high opioid dose can be unwittingly administered without immediate incapacitation, thus providing a false sense of tolerance until it is too late. This form of delayed [opioid overdose](https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FOpioid_overdose&t=ZTM2OTU2NWZmY2E5NTZkMGRmMjEyYjIyOTJlY2MzYjU1ZWEyMDI3NixNMkFCMzVpeA%3D%3D&b=t%3AifT3Q8QrCR8YgkxriemfHQ&p=http%3A%2F%2Ftjlcisthenewsexy.tumblr.com%2Fpost%2F146800639982%2Fjohns-choice&m=1) is believed to be the most common mechanism of death in speedball overdoses. ([X](https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FSpeedball_%28drug%29&t=MDJiNWI1NzUxY2YyNmE1YzI1YmE2MmZhOTRmYmMwMzJhNWRiYjk2NyxNMkFCMzVpeA%3D%3D&b=t%3AifT3Q8QrCR8YgkxriemfHQ&p=http%3A%2F%2Ftjlcisthenewsexy.tumblr.com%2Fpost%2F146800639982%2Fjohns-choice&m=1))

So not that I want to nitpick the mechanism of his Dream 1 death too much (because dreams), but this gives us a nice neat explanation for how Sherlock could have inadvertently speedballed himself on the plane, by using cocaine when he was already high on morphine, and then gone on relatively unaffected until the graveyard scene concluded with his Dream 1 death.

This also explains why Sherlock was  _“high before he got on the plane”_ , with no explanation for where or how he could have taken drugs. Because on the tarmac, he’s really lying in a hospital bed attached to a morphine drip, imagining how it would look and feel to say goodbye to John forever.

 

##  **A bit about the term “EMP”**

The dreams are NOT mind palace. The mind palace is just a memory technique. We were told; they are DREAMS. His Dreams are triggered mainly, I believe, by his use of  **morphine**. 

Even the name Morphine was derived from [Morpheus, the ancient Greek God of dreams](https://t.umblr.com/redirect?z=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FMorpheus_%28mythology%29&t=ZmQ1MWNmZWJiNjRjZTE3MDYxOWY5ZTEwNzAyYTQ5YTgyMTY2YWZkYixNMkFCMzVpeA%3D%3D&b=t%3AifT3Q8QrCR8YgkxriemfHQ&p=http%3A%2F%2Ftjlcisthenewsexy.tumblr.com%2Fpost%2F146800639982%2Fjohns-choice&m=1), and is also known in some people to cause strikingly vivid and realistic dreams and nightmares (I can’t find any real studies, but google ‘morphine dreams’ and there’s plenty of anecdotal evidence). It’s possible Sherlock had never used morphine or any other opioid before he was shot, because the vivid dreams can fade as tolerance increases. 

His interaction with CAM is more evidence that morphine might be a new thing for this modern Sherlock (ACD Holmes most likely did use morphine as well as cocaine):

Yes, we’ve seen covertly “fake” scenes before, like the [Baker St mind palace room in TSoT](http://deducingbbcsherlock.tumblr.com/post/77248066893/sherlocks-mind-palace-the-baker-street-room). But knowing now what I do about morphine being linked to dreams, I would even suggest that Sherlock’s vivid Mind Palace deductions are linked with his cocaine use, because he has now admitted (if only to himself) that he uses cocaine to “heighten his thought processes”. 

I think perhaps we should stop calling TAB “mind palace”, because the writers have told us what it is, yet we’re still calling it mind palace when it’s not.

  


You can call this Dream Theory or Extended Dream Theory (MDT?), or anything you want. If you want. 

**A few other comments:**

  * Toby Jones plays the Dream Lord in ‘Amy’s Choice’, and also happens to have been cast in Sherlock s4. Coincidence? Who knows. 
  * I have not mentioned the “Other One” scene in the flash forward part of HLV: I believe this is an exception to everything else we see. I agree with [this theory](http://isitandwonder.tumblr.com/post/145973562236/were-we-shown-but-did-not-observe) that we’re seeing something that occurred  _a long time ago_. 
  * Magnussen is alive. 
  * In ‘Last Christmas’ there are a suspicious number of references to the Easter bunny, and Easter. Hmmm. Interesting.



Thank you for reading! 

[EMP was coined by gosherlocked, and first discussed by gosherlocked, the-7-percent-solution, and monikakrasnorada in Januray 2016 shortly after TAB aired]

**More EMP meta** :

[Watson Domestic is the Real Series Three Cliffhanger](http://tjlcisthenewsexy.tumblr.com/post/150739839490/watson-domestic-is-the-real-series-3-cliffhanger) 

[@isitandwonder](https://tmblr.co/mFsqQSE2JWjcYbaG45JmOgw) : [Imagine the Christmas Dinners](http://isitandwonder.tumblr.com/post/145316499731/imagine-the-christmas-dinners-extended-mind) and [EMP in HLV - Appledor](http://isitandwonder.tumblr.com/post/145408413541/emp-in-hlv-appledore)e

—-

 [@stillgosherlocked](https://tmblr.co/mXqUA1ryArd_AxAOQ2vvJMg) [@moffat-rocks](https://tmblr.co/mePTOHfIPHhZ9Xqw896bD0Q) [@sherlock-little-weed](https://tmblr.co/mBnb5Jb8I5xVhmcXSaAl5QA) [@longsnowsmoon5](https://tmblr.co/m-kl_Tum3BZzaBuuAvxRHkQ)[@ebaeschnbliah](https://tmblr.co/mBqRAqROLLdNBwKXWSbGPFA) [@inevitably-johnlocked](https://tmblr.co/mtuAEmIxi1BHWAolxk7Nr0w) [@thebisonwitheadphones](https://tmblr.co/m0OKC3L_5fq25H7TXJs_WUg) [@the-7-percent-solution](https://tmblr.co/mNazp0ek-Ub9ZHx4-qnRnDA) [@jenna221b](https://tmblr.co/mRqE8QJKpLXTRgVMnO5HGcA) [@may-shepard](https://tmblr.co/mB1YcXdEOjQmC078VGvUPhA) [@wearthedamnhatholmes](https://tmblr.co/mcg_AFVPp2OHJSaxhN74KKg)

 

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